The prologue was laid in the epoch before creation began (it may
safely be said that no dramatist would dare to choose an earlier one)
--or, rather, before the last manifestation of the universe. All
the philosophical sects of India, except Mussulmans, agree that
the universe has always existed. But the Hindus divide the
periodical appearances and vanishings into days and nights of Brahma.
The nights, or withdrawals of the objective universe, are called
Pralayas, and the days, or epochs of new awakening into life and
light, are called Manvantaras, Yugas, or "centuries of the gods."
These periods are also called, respectively, the inbreathings and
outbreathings of Brahma. When Pralaya comes to an end Brahma
awakens, and, with this awakening, the universe that rested in
deity, in other words, that was reabsorbed in its subjective essence,
emanates from the divine principle and becomes visible. The gods,
who died at the same time as the universe, begin slowly to return
to life. The "Invisible" alone, the "Infinite," the "Lifeless,"
the One who is the unconditioned original "Life" itself, soars,
surrounded by shoreless chaos. Its holy presence is not visible.
It shows itself only in the periodical pulsation of chaos,
represented by a dark mass of waters filling the stage. These
waters are not, as yet, separated from the dry land, because Brahma,
the creative spirit of Narayana, has not yet separated from the
"Ever Unchanging." Then comes a heavy shock of the whole mass and
the waters begin to acquire transparency. Rays, proceeding from
a golden egg at the bottom, spread through the chaotic waters.
Receiving life from the spirit of Narayana, the egg bursts and the
awakened Brahma rises to the surface of the water in the shape of
a huge lotus. Light clouds appear, at first transparent and web-like.
They gradually become condensed, and transform themselves into